Necessary Weasel

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"Be happy that weasels infest the world. Weasels are like motor oil for society. It wouldn't be fair to judge motor oil outside the context of an engine. If you put motor oil in your mouth, it would be filthy and slimy and leave a bad taste. But when that oil is inside an engine, it does an important job and you're glad it's there. Weasels are the same way. Slimy and disgusting, but essential."

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As a logical extension of Tropes Are Not Bad, many tropes that might otherwise come across as gratuitous, offensive or just plain wrong in most genres are considered not just accepted in certain genres, but are practically a part of the genre. Complaining about the simple use of the tropes (as opposed to particularly offensive variations) in said genres is rather short-sighted and pointless, since, well, it's in almost every other work in the genre.

Anticlimax Boss in Wide Open Sandbox games. If a boss must be fought, and players can be optimized for something other than combat, then the boss must be beatable by the weakest character who can reach the fight.

The Coconut Effect: A sound effect, color, etc., that people expect to be there, such as horses' hooves that sound like coconuts being smacked together.

Many Christmas stories involving Santa Claus do not address or adequately explain Plot Holes inherent in the premise, such as why no adults know he exists even though there are millions of toys showing up that nobody purchased, among other questions. Attempting to answer these questions may diverge the story too far from the classic legend, and most people who like Christmas stories are willing to ignore these issues.

Artificial Gravity, for "soft" Science Fiction works (though otherwise "hard" film and especially television Science Fiction will sometimes make use of it due to the extreme difficulty of producing true "zero-g" on camera).note Although, this may depend on how it's presented and achieved in-story. For example, just spinning the ship and having people walk on the side walls is perfectly reasonable.

Inertial Dampening: Often accompanies Faster-Than-Light Travel (or at least any acceleration/deceleration that can be expressed as ".C"), needed to keep the crew from being rendered a fine paste in high-speed maneuvering or entering/exiting FTL travel.

Benevolent Architecture - Sure, there is very slim chance that video game character's surroundings will be perfectly suited to that character's unique powers or abilities. Or that wreckage will form a path, rather than an obstacle. However, being realistic would mean Unwinnable or else easily passed.

The Perry Mason Method: Because merely proving that your client is innocent is not enough for the audience;note or the general public, usually; they want to know who actually did it (and why).

Orcus on His Throne: Sure, it would be sensible for the Big Bad to personally hunt down The Chosen One. But then the protagonist would get splattered and there'd be no plot. Or the Big Bad gets splattered too early and the plot is over.

The Main Characters Do Everything because otherwise you'd have a massive cast fighting for what little spotlight there is. (And in the case of live-action, massively cost-prohibitive.)

Plot Leveling in a Post-Script Season. It's hard to scale the plot down from the former Grand Finale without losing viewer interest. This has to be done carefully, though; if things scale up too much, the show will start looking like a self-parody.

The Bad Guy Wins in dystopian literature, since the whole point of the genre is to raise awareness of the horrors of dictatorship so that the audience doesnt let it happen here.

The Power of Love (or its more vulgar cousin, The Power of Lust) being some kind of incredibly awesome force in stories that label themselves as (even partially) romances. Because if you're gonna write a 500-page tale about The Everyman going against absurdly long odds for the sake of some girl and succeed, it's obvious there's got to be some kind of equalizer.

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